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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
>> Hey there, I'm Robert Garmin. >> And I'm Rich Harrington. >> And welcome back to another episode of DSLR Video Tapes. And Rich, this week, we're going to kind of continue on our motif that we started in our previous episode. Talking about developing a film look inside of an NLE only using, sort of the built-in tools. >> Yeah, and, and this is a bit, I don't want to say, limiting. Because, you know, all of these NLEs come with good stuff built in and >> Yeah. Yeah sure. >> And core color correction and grading, you can do. But I, I think we often get comfortable using third party effects because they jump start the process.
>> Well, you know, because a lot of times, they're dedicating to doing that, right, whether it's hey, here's 50 looks that you can try out from everything. >> Yeah. >> From you know, washes, and bleach bypasses and all kind of stuff. When we're dealing with the, the built in tools, a lot of times we have to kind of use our creativity a little bit more. >> Yeah. >> To nail those things. Now, the one thing that I think that's worth bearing some discussion and we talked about this in previous episode, but what do we mean by Film look. And I gotta tell you, Rich. This is kind of a, an overused kind of misplaced term in my head. >> Yeah. >> I just think, to me, you know? In my opinion, a film look is not having really anything to do with film these days.
Because nobody's shooting on film, for the most part. You know, all the stocks are gone, all the labs are gone. And traditionally, a film look. Was something that was done in color timing or at, at least in a photochemical process right? We were dipping it in some sort of bath or skipping a stage of the development process. We're not doing that anymore with ones and zeros and pixels >> No. >> on screen. >> But, but we are giving it a highly stylized look. >> And I think one of the things that's sort of more appropriate, is to look at things like magazines, their print ads, and look for looks or treatments that feel good.
>> Absolutely, and when clients walk in my suite a lot of times, they're using those words, like a wash or a bleach by bath, things they have discovered, or they are giving us references like something out of a magazine. >> Yeah. >> But it's just kind of a of weird thing when we say film, I mean the biggest thing that comes to film for me is just really just motion right and frame rate. You're going to give yourself sort of a leg up if you shoot all your footage at something like 23.98 or 24 frames per second. Versus 30 or 60 frames a second. That's going to give you more sort of, hyper-realism where one of the things that in my mind defines film, is kind of that nice, smooth, kind of soft motion blur. That we get on shooting those frame rates.
>> Yeah. But there are some distinct characteristics, like soft blooms, or the ability to have some washes. >> True. >> So I'm going to walk through a couple of things that I often do, inside of Premiere Pro, to give it a look. We'll take a look at two different shots and we'll develop some isolated treatments, as well as some global effects.
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